Exclusive Premiere: DYN & Bleib Modern – Live Split EP (A-Side – DYN)

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Black Verb Records is a new collaborator and have granted us access to their latest release, namely “Live Split EP” – an EP recorded live at Badehaus in Berlin on the 14th of May – split between DYN and Bleib Modern. We’ve been allowed to showcase the a-side of this release, which features the music of DYN, a psychedelic and shoegazy adventure between insanity and sanity. Opposites attract, they say.

You can listen to it here exclusively on Repartiseraren before release. This split will be released on the 22nd of June and you can pre-order it over at Black Verb Records. You’re in for some really psychedelic tunes, in an alternative way. Stream it in whole down below and find the tracklist as well.

Tracklist:

1. Two Times
2. Day In Life
3. Just A Little Bit
4. I Can Handle This
5. Love Of Mine

 

Review: Die Selektion – Deine Stimme Ist Der Ursprung Jeglicher Gewalt

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aufnahme + widergabe have gotten the privilege to release the second album by Die Selektion, late May. Last time they released an album was six years ago, their first self-titled album on Fabrika Records. Much have changed since then and it is a more refined and interesting Die Selektion that can be found with their newest album “Deine Stimme Ist Der Ursprung Jeglicher Gewalt“. The album is roughly thirty-four minutes long.

“Schatten”, the first song off the release, is a really emotional trip. A song which slowly develops and jabs you straight in the heart. There’s so much nostalgia to be had while listening to it, essentially a very good introductory. Here darkwave meet electronic body music and dance music in an odd combination – add to that a trumpet and you’re set. It is interesting how it builds up and then unleashes mayhem upon the listener. Rhythms are on point and you’re caught up with the motions of the baselines, synthesizers and vocals. A certain distraught tone is brought out by the vocalist, making the setting even more postapocalyptic then it could’ve been otherwise.

There is really a perfect groove between the trumpet and the thumping baseline. One discovers complex melodies layered upon one another in perfect synchrony. It hits very deep just before it fades out into nothingness – there’s something really touching about how the atmosphere goes from energetic – to sullen and accepting of its own fate. Personally, there’s not been many songs that hit as deep as this one, the only exception being the repertoir of Keluar. That’s a good point of reference when it comes to how expressive the song really is.

WhenUnter Die Haut” storms in with the alluring electronic body music á la Schwefelgelb – one is immediately hooked. Repeated in this song is the atmospheric notion of the previous song, but with an extended prescence of the trumpet which gives it a huge sound. Sharp baselines tear through whilst the attendance of the synthesizer sounds make for enjoyable rhythms. One thing that is more characteristic of this song is the presence of the vocalist – he tears through like nothing with an attitude perfectly in tune with the bombasticness of the soundscape.

Not much more can be said about the song as such. It translates perfectly into “Dir & Mir“, whose atmosphere is more focused in terms of the percussion. Added into the mix is a guitar that doesn’t leave you hanging with meaningless riffs. Everything is in tune with each individual song and the laid back style in this one captures the attitude perfectly. There’s a discipline, a decadence and a retrospective imagined into sound. An unnatural blend of genres that shouldn’t have been – but became something more then a transgression into awfulness.

“Kalter Atem” almost catches one off-guard in terms of how the intro makes one expect the awfulness of aggro-tech to leap into the mix and ruin everything. Sadly enough, the beats in this song aren’t really much to cheer for. They do nothing more then keep the rhythm steady, although monotonous – it is bad monotony. The atmosphere don’t develop until the song is almost over anyway. It gives the air of being intermission before the continuation of the next half of the album.

Brennende Brücken” is really minimalistic – giving the vocalist more space to shine. Together with the low-key trumpets in this one, it adds a more sincere touch and you feel closer attached to the musicians as such. It is hard to explain, but the immaculate use of sampling and the tearfelt delivery of the vocalist reeks of passion. The further in you get, more experimentalism is added – which makes it feel like something new in electronica. As the melodies are intimately attached but so far away from one another in the atmosphere, it gives off a really nice vibe.

Wow, the intro on “Der Himmel Explodiert (feat. Drangsal)” stir things around even more. The depths of the synthesizers is a nice touch – and then, suddenly, electronic body music in its purest form is added to the mix. There’s a more exotic kind of atmosphere in this song and you really can’t get enough of the trumpets. As Drangsal is introduced, there’s a noticeable shift to the more upbeat and lighter soundscape. It is a nice addition which makes it more distinguishable from the other songs one already have listened to. The outro is what the intro of this song was but it is perfect the way it is.

If rhythm was something lacking earlier, in comparison with melody, “Der Augenblick” adds even more ambitious percussionism – giving it a multi-layered, energetic switch into danceable electronic music. You’re given an acute sense of controlled chaos. Because it is “The Moment” – which would’ve been cheesy had it been in english instead of german. For some moments one is not sure if it is about to go full-on psy-trance or if it won’t go astray at all. This goes to show what they are capable of and that they don’t limit themselves to formulaic songs, because everything is well thought out and dynamic.

Dein Hertz Wiegt Tausend Scherben” feels very retro. The synthesizers in this song add mystery into their music. It is quite a straight-forward song but the melodies are some of the nicest on this record so far. Dreamy, but saturnine to the core. The constant use of the trumpet in almost each song is about what the saxophone is to 80-90’s action movies – though the main difference would be that it never gets tiresome. Max Rieger have really outdone himself and Die Selektion were right to add his instrument into the mix. The casualness of the vocals is also another thing of note in this song – they seem so unforced and authentic. Lyrically speaking it is very good in all its simplicity.

Deine Stimme“, the last song on this album, really says something about where they might be heading next with future releases. There’s a heavier, more experimental tone to the synthesizers and the vocalist concludes the record mysteriously. Reverberated voices and noisy rambunctiousness – a cyberpunk feeling. A clarity, a mission of something even more grandiose. After having listened to this album it feels empty, especially when the last song in the end of it builds up something that might’ve even been a tenth song. aufnahme + wiedergabe really knew what they had assembled when releasing this.

Listen to the release down below in full and if it is alluring to you – buy one or both of the physical releases. Currently available on limited edition CD and vinyl.

 

 

Spotlight: Kazeria, A.D. Mana, Strucktura, TRAITRS

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In this spotlight we’ve chosen four artists/groups that are different – yet alike in many ways. There will be a lot of darkwave, coldwave and industrial music in this spotlight. Mostly because those are the genres where we find ourselves at home, because there’s immense talent to be found there. We start off with noisy industrial music and end with gloomy post-punk extravaganza.

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Kazeria was unknown to me when I found his music via Gradual Hate Records. It was his latest release, “Nihilist Militant“, that caught my eye. The aesthetics were impressive when it comes to the artwork for this release, but more was to be discovered when pressing play. He’s created very intimate and atmospheric industrial music, coupled with dark ambient overtones. Keep in mind that these songs are totally unedited versions, created between 2003 and 2007 – which is a representation of how it sounded back then.

There’s a great assertiveness in his music, it almost borders to the bombasticism of martial industrial. As stated by the label, this is a “very personal” release, which really shows in the emotions he conveys with his music. It is both harsh and atmospheric, with destructiveness at its core. One is very impressed by the percussive rhythms he produces, which can be heard the clearest in “Evrazia Regnat” – a very disciplined and ambitious track in regards to melodies as well. Even the very short ballad-like song “Irminsul” has a certain grace.

This release is a great way to get into his music and if you pre-order the last copy in the special package – you get a gas mask as well. Can’t get more industrial then that. Listen to the release down below, buy it if it is of interest to you.

admana

A.D. Mana is a relatively new artist from Berlin. The re-release of his first and only, self-titled EP, on cassette – had me at the first song “Take Hold” – a stern coldwave rendition that catches multiple influences, like synth-pop and darkwave, molding it into a sinister blend together with his voice. The synthesizer stabs are clear but at the same time dark and brooding, a strange combination which at first doesn’t seem to work but as the song progresses it is obvious that it does. “Down The Wire“, another song on the release, almost funnels the post-punk vibes into some odd kind of grungy synth-pop-‘n’-roll.

My favorite song on the release, except the first one, is “Honour“. It adds gracefulness to the messy environment of the songs in general. Even though you’re caught slightly off-guard by his voice – not in a good way – it fits in place after a few moments into the song. There are some great rhythms as well, aptly executed. The melodies are unorthodox, which makes me like it even more. You expect more of the same but get tricked into the wondrous atmospheres, the groovy electronic beats – and the charming ballad-like ending within “Soulware“. A perfect instrumental track and appropriate farewell. You should really check it out, and buy the cassette from sentimental, if it suits you.

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I’ve actually heard about this artist, Strucktura, whilst browsing through the bandcamp-feed. But I never paid much attention to the music. There’s some really solid darkwave-inspired music in his “Statues Also Die” release on Oráculo Records. While the synthesizers and beats are on point in the release, there’s some really cheesy lyrics. In a weird way they go along well with the music, so I will leave that alone. The music seems awfully cheerful but at the same time moody and distraught – which is something that adds character to the songs. Especially in “Val D’Aran“. 

There’s a nice futuristic vibe about each song and it comes out differently, even though most of the rhythm and melodies are alike. As dreary as the atmospheres may be at times – they come out as dreamy – and are filled with nicely laden synthesizer sweeps, alongside well constructed rhythms and melodies. It is a release you should check out, if it is something for you – buy the limited edition vinyl via Oráculo Records.

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Torontian band TRAITRS have created some of the most soothing, coherent post-punk music I’ve heard in a while. The oomph of the baseline resounds throughout in the first song “Witch Trials“. It is really weird how each and every song on the release is anthemic on its own – it is mostly reserved to one or a few songs – but this is catchy, ambitious and on fire from the matchsticks up until the light goes ablaze. It is especially noticeable in “Lya“, one of the more minimalistic songs. The singer gets a certain kind of emotional streak in the chorus which makes you want to sing along to the lyrics.

Not to mention how massive “Gallows” is. Here they’ve really gotten through with the originality of their sound. They both have an edge in the music and somewhere to stand firm – nothing is left to chance, everything is constructed meticulously. When one gets as far as their last song “Heretic“, the percussionism is simply mindblowing. Of all the releases recommended in this spotlight, this is the one I will have to choose myself as the best one. You can get it from the Warsawian label Alchera Visions, buy it here and stream it down below.

 

Review: Baldruin – Biotische Verwitterung

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Johannes Schebler and his main project, Baldruin, is not a novice by any means. Having four albums solo and countless split-albums, this project is not just interesting in that regard – but also because of the aesthetics he includes with his music. It surely marks the experimentalism that can be found in his music as well, in a good way. Oftentime the artists and bands whom go under that banner don’t really make it this well aesthetically. It is pleasant to look at. So, in regards to this album which is his fifth release, it is intriguing to find out that Black Horizons, Aetheric Records and Cloister Recordings US made it possible for release on vinyl – all three labels represent good artistry.

The release itself clocks in at around forty minutes in total. What is interesting about the album itself is that it follows his – since long – short adaptation of tribalistic ambient industrial music. Let’s head into this.

Opfergabe” gets straight to the point, through a muffled and calm atmosphere at first – descending upon the listener with a concrete setting in which this song turns into somewhat of a hymn. There are vocal representations that make it alluring, always accompanied by a steady and not too harsh rhythm – continually shifting the atmosphere around from being rambunctious to softening up and disappearing out of sight. An enjoyable slab of industrialized ambient.

Ins Jenseits” is definently more percussive. Fast, tribalistic drumming, an ever increasing heartbeat that go with the rhythm – to the disturbing voice of a child, amidst tribal chanting. It feels like there’s a part of someone’s life being played in reverse, at the same time as the sound gets more and more intimidating. A father, having lost something into the eternal void, having lost much of his life – it feels like it has been all for nothing. Everything was meant to turn out good but instead turned into a complete horror story.

Das Vergessene Grab” is meditative – but also more retrofuturistic – there are synthesizers that play a bigger part in the music itself. Concentrating more on the ambient landscape. There’s something mysterious about the song, as the sweeps on the synth in combination with the ceremonial percussion become an interlude to the next song – “Im Auge des Sturms” – which almost completely strips the atmosphere of the nostalgic moments that could be felt previously. Even though it feels like a continuation, there is more of a focus on the rhythm of the song rather then the unfathomable reach of the bombastic synthesizers. It focuses a lot more on simpler melodies, there’s one which is with the listener up until the end of the song – slowly evaporating into monotone noise.

Wächter” is from the beginning a sample-based cliché. Until the marvelous synthesizer rings out with an emotional melody. It is joined with the sudden barks of a dog, screeching sounds and a troublesome, intensive melody that pushes the atmosphere further – as if something out of a 80’s/90’s futuristic action flick. The steady rhythm of the massive synthesizer is what makes this song intense – and enthralling from the first tone to the last one.

Hydra“, the next song and the sixth one on this release delves into the same character of the first songs. It kind of becomes annoying with the tribalistic elements at times but it is saved by the chanting of a woman, in german of course, adding a sinister touch which gives the song a completely different edge in the end. The attention to detail of every sound in this song is immaculate. Of all the songs so far – this one is designed the best as it brings out the wondrous nature of each sound – as well as the more horrific one(s).

Der Puppenspieler” is too simple, but the added samples make it far more interesting then it should’ve been in the first place. It is an ode to the more emotional side of Baldruin – the positive, nostalgic, tearjerking side of his music. Even though the experimentalism of it is overwhelming at times and the atonal side of it becomes a little too much – Johannes really shows how nice industrial music, with ambient foreground, can be when synthesizers are utilized properly.

Zone 77” is really captivating. You really feel how complex the music is and how hard it must’ve been to fit the off-beat rhythm to the atmosphere. Pads of majestic sound is laid upon the song with much care. As rough as it sounds, there’s also something delicate about it. You’re hypnotized by the clash of harshness against the soft, picturesque landscape it portrays. How is it even possible to create anything like this? There’s a minimalism and a maximalism. Everything is oxymoronic about it but yet impressively joined together.

Raum ohne Sicht” is psychotic. The intro is off-putting. It feels like a warning, it conveys feelings of utter disgust. Rarely have I ever shrugged away from a song that is so well made, but in this case it is just too disturbing to listen to in full. Here’s a song that would fit well to any story that includes the most horrible of human nature. “Falsche Fährte” is really beautiful and the complete opposite. Even though much of the rhythm isn’t that interesting to begin with, the atmosphere becomes increasingly intense and the more you hear beautifully laden female vocals, the more of a sense of pride is instilled within. The pride of knowing that someone could construct something this beautiful and convey these feelings. A song you really shouldn’t skip.

Panik in der Fabrik” is really what the name says it is. Panic in the factory. In the beginning of it there’s a certain electronic body music influence that can be heard, but as it transgresses more into sample-based industrial music – the more disturbing it gets. There’s a certain two-facedness when it comes to the music on this album and Baldruin knows perfectly well how to pair it up musically. The contrasts are so knife-sharp that it is frightening. “ZüngeInde Flamme” seems to build off all the recent songs, transcending into something that feels very clear and represents the different characteristics perfectly. Subconciously, it is instilling a feeling of wanting more of the music as if the story progresses the further in you get. Even though there might not even be one to begin with.

Fortgeschlichen” feels like an outro, even though there still are two songs left to be heard and dissected. It is dreamy, cosmic and far away – out of your own reach. It feels like you’re daydreaming and accessing remote locations, where men have never been before. A dreary landscape of sound is pumped up with the occassional pumping beats, noisy transmissions and overall increasingly experimental song. Though in the end it just fades away, bleakly. “Fund im Laub” is assembling the lost parts and making it into a behemoth of sound, as it sprinkles darkness around itself on the assembly line. Not the most intriguing song on the release so far, but the attention to detail for each sound is – as for some other particular songs – fantastic, to say the least.

Vom Ende” is the real outro. It’s funny how it is the longest song on the whole release as well. Hopefully this more synthesizer-driven music is how his next release will progress in the future. One of the main strengths of this album, even though it is scarcely represented, is his way of handling the synthesizers and creating the most attentive songs of the release all-in-all. It went from a totally freaked out tribalistic ambient release to a futuristic synth venture and then away into screeching industrial music.

One can understand how this album would be of interest. He has more strengths then weaknesses. The whole album is of interest even though parts of it contain utterly disturbing portrayals of the human race as such – but in the end delivers a story which is created in your own mind while listening. It evokes something more then just feelings, it is cohesive and experimental at the same time, never loosing to one or the other. Buy the album from Baldruin himself, Black Horizons, Aetheric Records, or Cloister Recordings US. Listen to it digitally in its entirety down below.

 

Recension: dB/Mz – The Light To Come

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dB/Mz är den oheliga alliansen. Vid närmre eftertanke är den kanske inte så ohelig som den verkar – David Bengtsson (dB) har tidigare gjort musik inom samma genrer som detta släpp – det har även Magnus Zetterberg (Mz). Däremot kan musiken betecknas som ohelig, eftersom att den trots sin experimentella karaktär varken platsar inom det experimentella eller dark ambient som sådant. “The Light To Come” är inte precis ett hafsverk, utan det är en koncentrerad form av musik som följer en röd tråd rakt igenom.

Här på Repartiseraren så tar vi oss vidare i denna recension genom att, enligt praxis, frångå den ytliga sammanfattningen som recensioner oftast gör. Vi tar oss igenom detta album, låt för låt. Albumet är släppt av Silken Tofu för två år sedan (2015) på CD, totalt innefattar den sex låtar med en total speltid på cirka 50 minuter.

Den första låten, “Untitled” (1), är mörk – men någonstans där långt inne finns ett ljus som aldrig slutar att brinna. Genomgående för låten är att det känns väldigt filmiskt, det verkar som att någon eller något är fast, tillfångatagen. Efter ett par minuter så tar lågan vid och det börjar brinna – metaforiskt så innebär det att andra instrument introduceras – från de svepande syntslingorna ringer en gitarr.

Det ekar mellan bergsväggarna. Atmosfären är väldigt föränderlig, men det som sker är i samklang med allt det andra. Från en mer organisk och någorlunda klaustrofobisk resa – till en vild och bombastisk avstickare. När låten väl har tagit slut så gör den det på ett snarlikt vis som den började – ljuset som brinner släcks långsamt, tills endast det omslutande mörkret är kvar.

Untitled” (2) tar vid, och levererar en lite mer groggy upplevelse. Låten utvecklar sig på ett helt annat vis, man tas direkt in i centrum och från vänster till höger kan man höra hur ljudbilden skakas om rejält – man blir faktiskt nästan lite svimfärdig. Allting är på sin plats men ändå inte, trots att man kunde svurit på att det funnits en struktur så kastas allting om och utvecklas långsamt till något mer skrämmande.

I jämförelse med den första låten är denna mer dekonstruerad. Det finns utrymme för hur många utsvävningar som helst – men det är fortfarande långt ifrån att vara olyssningsbart, musikaliskt dravel. Basen i låten får en mer framträdande roll ju längre in man kommer i lyssningen – så även de lägre frekvenserna – som efter ett tag blir enerverande. Men just när man fått nog av låten så är den passande nog slut – tack och lov för det. Hade den varit en eller två minuter längre så hade man fått stänga av direkt.

När den tredje låten, “Untitled” (3) kommer igång så är det i form av en puttrande gryta. Noiseinfluenserna är mycket tydligare i denna låten, då den knastrande och sprakande ljudmattan drar igång – utan någon som helst förvarning. Genomgående för låten är att den är monoton, men den överraskar i intensitet och blir nästan industriellt bombastisk ju närmre slutet av den man kommer.

Rent atmosfäriskt är den brutal. Dock är det överraskande när det blir en mer klassiskt industriell prägel, en ivrig men konstant oföränderlig rytm som är medryckande. Eftersom att man är på mitten av albumet känns det inte konstigt överhuvudtaget, men det är intressant med variationen och den uppfinningsrikedom som finns i låten. Hittills är den ett landmärke på detta album, om man jämför med de andra låtarna. dB/Mz börjar att öppna upp sig för de andra närbesläktade genrerna.

Nummer fyra, låten “Untitled” (4) är inte så annorlunda i jämförelse med de andra låtarna – men det finns något drömskt över den. Det känns som en tillbakablick över det mer industriellt övergivna – dåtiden – som möter det hypermoderna och dess abnorma framtidstro. Futurismen är här, men det är en falsk dröm som snarare slutar i en mardröm. När signalerna avtar så är det enda som finns kvar aska av det som kunnat vara. Man finner sig i något slags motsatsförhållande av musiken, men samtidigt provocerar den fram något inom en. Man vill så gärna lyssna och upptäcka – så känns det när man lyssnar till den här låten.

Sammanfattningsvis så är det en riktigt komplex ljudbild som sträcker sig över de ynka sex minuter som avvarats för låten. Det är den näst-kortaste låten på hela albumet, men det finns så mycket att hämta i den. I ständig förändring, med en långsam utveckling mot slutmålet, där flera stopp görs för att bygga på den koloss som blivit. Byggsten för byggsten. Det känns verkligen som ett jätteprojekt sammanfattat. Avslutat.

“Untitled” (5) är den näst-sista låten på albumet. Det känns nästan vemodigt att lyssningen snart är avslutad. Men här får man allting på en och samma gång, det mörka i dark ambient som får ens nackhår att resa sig. En syntslinga som känns mer avlägsen än någonsin, ihopblandad med snabba elektroniska missljud – gör detta till den mest skrämmande och sinnesrubbade låten på hela albumet. Basen i synten gör att den låter som ett hovrande rymdskepp – en okänd farkost som långsamt närmar sig i mörkret. Detta hade varit en perfekt låt för ett skräckspel.

David Bengtsson och Magnus Zetterberg blir mer som Mr. Jekyll och Dr. Hyde. Två sidor av samma mynt, en och samma person egentligen – men deras kunnighet rent musikaliskt blir verkligen, rent koncist: en utomordentlig upplevelse. I jämförelse med den tredje låten på detta album så är detta vidunder på femton minuter en slags uppvisning i vad dB/Mz är kapabla till. Denna låt är i alla fall bland det bästa jag hört inom genren dark ambient.

Efter att ha lyssnat så här långt så blir den kaosartade avslutningen, i och med den sista låten “Untitled” (6), ett välkommet avsked. Det mest smutsiga i noiseväg löper linan ut och fullkomligt saboterar ljudlandskapet. Intensiteten som funnits i de tidigare låtarna dubblas och allt läggs ihop och blir något makabert. Inte den mest fantastiska låten om man säger så, men det var bra tänkt att lägga den sist och att den är så kort som den är. Vid slutet av detta album så är man redan slutkörd. Då orkar man inte mer.

Å andra sidan är det kanske tanken. Det är inte en låt som sammanflätar albumet och fulländar det – utan det är snarare ett farväl där de visar fingret. Allt som allt är det ett väldigt bra album och man kan inte förstå varför de under denna tid som gått inte släppt något nytt. Törsten för något mer från dB/Mz är nämligen reell. För den som är intresserad kan man köpa CD:n från Silken Tofu via denna länk. Albumet går att lyssna till i sin helhet här nedanför.